Before I went to see Kevin Spacey in Trevor Nunn's production of Richard II, I promised myself I'd spend the afternoon in close communion with my complete works of Shakespeare. Naturally that didn't happen, and I found myself arriving at the Old Vic in London hoping to grab a programme to help me get my head round the assorted Northumberlands, Aumerles, Bolingbrokes and Scroops and their variously complicated family relationships.

The roll call of nominations for the Olivier Awards could hardly be a better parting present for Sir Trevor Nunn - who has not had the most comfortable of reigns at the National Theatre - save in one important detail.

Trevor Nunn's supporters can point to obvious achievements during his term of office. The National has won a fistful of awards. It created, for a brief period, a magical ensemble. Nunn's own productions, most especially of Troilus and Cressida, The Merchant of Venice and The Cherry Orchard, have been outstanding.

I'm sure Sir Trevor Nunn and his company are grateful to Michael Billington (Stage fright, G2, October 10) for his suggestions on how to programme the three auditoria at the National Theatre, as they would be to any Theatre Studies course if it were asked to contribute: I'm pretty certain it would come up with something similar.

Bill Bryden's production of The Mysteries, taking us from the Creation to the Last Judgment, is back. First conceived in the Peter Hall era, this three-part Promenade production now dignifies the Trevor Nunn regime and even at the end of a 12-hour day, leaves one exhilarated. But why? Partly because of the alliterative vigour of Tony Harrison's poetry, partly because of the air of communal celebration, but even more because the event taps into our residual memories both of the Christian story and of a vibrant working-class culture.

How does one solve the problems inherent in the Merchant of Venice? By giving the action a specific emotional and social context. That was the technique adopted by such directors as Bill Alexander, Peter Zadek and Peter Sellars; and it is precisely the one employed by Trevor Nunn in this affecting and moving production.

The artistic director of the National Theatre, Trevor Nunn, was on the defensive last night when it emerged he had decided to wire up his actors to microphones to ensure their voices could be heard throughout the auditorium.